An awful lot of folks will point to "sympathetic" as the hallmark of a great fictional antagonist. Many stories even revolve around this angle explicitly, and few are so thorough about making this a central theme as A Silent Voice.
I may have technically been watching anime way before, but one of the first that grabbed me was the Kanon, and it’s the one that I still credit with getting me hooked on anime in the first place.
Media franchises are bound to shift and change over time. Sometimes, this sneaks in more gradually though a series of slow deviations. And out of this, you get things like Fate/Grand Order.
Throughout the series, the greatest things that the Kansei running team have to overcome are always themselves and each other.
Anime adaptations of light novels and especially manga have a nasty inherent problem to them. Most are made with the intention of promoting sales of their source material – usually a still-ongoing series – which will inevitably have a slower release cycle than the week-to-week release of a TV show. Naturally, this is a tricky business.
You don’t need to be overly-familiar with anime or manga to know that they tend to fawn over their female characters. For better or for worse, modern stories have an observable habit of leveraging "damaged" characters - typically girls and women - rather than letting them speak for themselves, and even stories that make a run at deconstructing this structure can still hit pitfalls.
Something as quick-hitting and disconnected as sketch comedy is in a perfect position to come across as impenetrable from the outside. Yet Nichijou’s glowing acclaim proves that a firm enough grasp on the fundamentals of comedy can surmount any of these barriers.